Reinhard Keiser’s 1705 Octavia (or to give it its full title, The Roman Rebellion or the Noble-Minded Octavia) is the fifth Hamburg opera to open the biennial Boston Early Music Festival since 2003. So the peculiarities of the Gänsemarkt Theater operas – many dictated by the fact that it was the first public opera house in Germany – should by now be familiar to frequent festival-goers. Kaiser's librettist Barthold Fein introduced some refinements, the sidelining of the stock comic character being the most noteworthy. He also created a densely eventful drama by conflating distant historical events into a fictional timeline which could accommodate the requisite, but ahistorical, happy ending. The juxtaposition of the private concerns of the characters with the public grandeur and spectacle of Imperial Rome encapsulated the festival’s theme of “Love and Power” and endowed the action with unusual psychological and emotional depth as affairs of state and affairs of the heart (and quadrants further south) intertwined.
Musically, Keiser continued an innovation he introduced in 1703 and which would become another Hamburg hallmark: arias in Italian, and made masterful use of long declamatory passages, later known as recitativo accompagnato. Declamation achieves its greatest dramatic effect during Nero’s tour de force in Act 3. Hiding after Piso’s revolt, chastened and haunted by his past transgressions, the tortured emperor wrestles with his fate. From the outset, bass-baritone Douglas Ray Williams had used a precise physicality and supple vocalism to limn his Nero, a willful, unstable, preening, man-child barely able to sit still to listen to Seneca’s counsel or concentrate on the consequences of indulging his impulses. Black shadow rimmed his eyes, reducing them to feral slits flashing with a manic energy. Act 3 found him humbled and subdued, his eyes now wide open and underlined in red. Williams, earning Nero’s redemption, created sympathy for one of history’s least sympathetic characters. When he appeared for the final scene, he was clear-eyed, composed and contrite.
Octavia, a vision in white, was virtue and nobility personified, but far from pallid in character. The steel and fiery conviction with which Emőke Baráth imbued her portrayal animated Octavia in a powerful way, aided by a voice which has gained in weight and depth since her last appearance here, while remaining warm and pliant. Amanda Forsythe’s Ormoena, a woman of high spirits who triggers Nero’s lust setting the plot in motion, was genuinely torn between the prospect of becoming Rome’s empress and remaining faithful to her husband. Like others in the cast she was adept at inflecting embellishments for dramatic or comic effect.